Sonate in H moll für Pianoforte und Violine, Op. 4 /

Mode of access: Internet.

Complete works for the piano

book 1. Waltzes.--book 2. Mazurkas.--book 3. Polonaises.--book 4. Nocturnes.--book 5. Ballades.--book 6. Impromptus.--book 7. Scherzi and Fantasy.--book 8. Etudes.--book 9. Preludes.--book 10. Rondos.--book 11. Sonatas.--book 12. Miscel. compositions.--book 13. Four concert pieces (solo).--book 14. Concerto in E minor (solo).--book 15. Concerto in F minor (solo).

Six sonatas for violin and piano /

Contains Op. 1, no. 3, 10, and 12-15.

Polonaise brillante : en ré majeur, pour le violon avec accompagnement d'orchestre ou de piano, op. 4 /

Mode of access: Internet.

Eighteen sonatas for piano and violin.

Mode of access: Internet.

Sonate für Bratsche und Klavier, opus 11, Nr. 4

Mode of access: Internet.

Ballade : op. 4, no. 2 ; Polonaise : op. 8 : for violin with piano acc. /

Mode of access: Internet.

Six sonatas for the piano forte composed in a familiar style with an accompaniment for the flute or violin ad. lib., op. 54 /

Mode of access: Internet.

Sonatas for violin and piano /

Mode of access: Internet.

Five duets for piano and stringed instruments.

Sonata, F minor, opus 4, violin and piano; [For] violoncello and piano: Variations concertantes, D major, opus 17; Sonata no.1, B flat major, opus 45; Sonata no.2, D major, opus 58; Songs without words, D major, opus 109.

Brechemin Piano Series March 4, 2010

Concert Program

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.

Non-uniform beams and stiff strings isospectral to axially loaded uniform beams and piano strings

In this paper, we derive analytical expressions for mass and stiffness functions of transversely vibrating clamped-clamped non-uniform beams under no axial loads, which are isospectral to a given uniform axially loaded beam. Examples of such axially loaded beams are beam columns (compressive axial load) and piano strings (tensile axial load). The Barcilon-Gottlieb transformation is invoked to transform the non-uniform beam equation into the axially loaded uniform beam equation. The coupled ODEs involved in this transformation are solved for two specific cases (pq (z) = k (0) and q = q (0)), and analytical solutions for mass and stiffness are obtained. Examples of beams having a rectangular cross section are shown as a practical application of the analysis. Some non-uniform beams are found whose frequencies are known exactly since uniform axially loaded beams with clamped ends have closed-form solutions. In addition, we show that the tension required in a stiff piano string with hinged ends can be adjusted by changing the mass and stiffness functions of a stiff string, retaining its natural frequencies.